Just been listening to the MV version of MOTR and I get a strong feeling that there’s something going on, but I’m just not understanding it. The original version felt like the Master giving a polished performance, but this feels like a Master much less sure of himself who’s tentatively rehearsing a role – working himself to death, perhaps? It’s not that I don’t like the newer version, but I just feel that there’s something else and I’m not “getting it”. Any interpretations/ideas gratefully received.

Sorry if you’ve all discussed this before – I do feel a bit like a very late arrival at a party that started long ago. Any one care to join me in the kitchen?

Yes, I know what you mean. Angie. It feels like the song is straining to get going. I suspect that if we all didn't have the original in our heads, it wouldn't be a problem, but we do. I suppose it's a version for an older and maybe wiser age - the gung-ho, can-do feel of the original replaced by something much more ambivalent.

The old version (which the long lamented Kenny Everett played and played to no avail) feels young and exuberant - the Master in his pomp the ringmaster conducting all around him.

The new version feels like an introduction and may have been better placed as track 1 on MV volume 1. The Master now older, maybe wiser maybe not, introducing his creations to those who would listen and now happy to sit back and let them take centre stage.

I have put together a CD for my car which uses the new version of MOTR as the opening track, the rest are in this (alphabetical) order and are the original versions:

Beware of the Beautiful Stranger Canoe Carnations on the Roof Dancing Master An Empty Table Girl On A Train I Have to Learn I See The Joker Laughing Boy The Man Who Walked Toward The Music Perfect Moments Rain-Wheels Screen-Freak Sessionmans Blues Sunlight Gate Theif in the Night The Wall of Death The Wristwatch for a Drummer

Though he had no great gifts of personality or mind, he was quite well respected.

Interesting, interesting. Those who were at the concert with the trio at St George's Bristol which gave rise to the 'Midnight Voices' CD will know that this version of 'The Master of the Revels' was designed as the intro to the concert. It segued into 'Laughing Boy'. My initial thought was indeed to begin the CD in exactly the same way, b ut Clive felt strongly that to do so made 'too large a promise' especially for listeners who were not already familiar with the stuff, so Mr Wallace and I prised them apart and left you with a tiny taste of Mr Davies's original tuba on the fadeout.